December 16, 2025 • 31 mins
Screechy Dan & Red Fox Explain “Pum Pum Shorts” | Hurricane Relief Fundraiser
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Speaker 1 (00:03):
What's happens way up at Angela. Yeah, and look at
this next deal is here today, oh man, and we
got Red Fox and Screechy Dad here with user out
of the room is Jamaican. Okay, I just really put
that out there. But this is a beautiful cause that
we're actually coming together to talk about. And Nick, you're
going to be hosting this events to run it down.
Speaker 2 (00:24):
Yeah, So the December six teams going down since it's
by Lodge up. It is the Hurricane Melissa relief benefit
of course for the Great Island Jamaica. We got Screeches
on the Red Fox in the set, we got King
yellow Man in the set, and Johnny Osborne and a
lineup of great DJs, Tjay, Gravy, Yanna Heaven.
Speaker 3 (00:41):
It's gonna be nice.
Speaker 1 (00:42):
And it's in Brooklyn. Yeah, Brooklyn at Brooklyn Bowl. Brooklyn
means a lot to you guys though.
Speaker 3 (00:47):
Of course.
Speaker 1 (00:48):
Yeah, of course, I can't imagine what it was like
coming here in Brooklyn, coming to Brooklyn when you did.
Speaker 4 (00:54):
Yes, I game he actually in the seventies, you know,
came me in seventy seven.
Speaker 3 (00:59):
Yeah, I went to junior high high school nine.
Speaker 1 (01:02):
Where'd you go to high school. Okay, I went to.
I went to high school in Brooklyn too, So high
school poly Prep Prep. You heard of it, you know, Okay,
it's way out of very Ridge.
Speaker 5 (01:16):
Well I went to.
Speaker 1 (01:19):
Oh wow, that's a crazy situation. I remember going there
because I'm from flat Bush. Yeah, and then going all
the way out there. It felt like a different world
for me. Yeah. So, but I feel like that was
also we always talk about like some of the best
spots in Brooklyn coming up for dance hall and for reggae.
(01:40):
Like I think about the Arc and how that was, yeah.
Speaker 4 (01:46):
The first place, and then they move it to and yeah,
it's somewhere over there called the Elite Art Bigger Space.
Speaker 1 (01:56):
Oh yeah, because so I used to live like across
the street from there where the series was all right, right, yeah,
now so I wasn't you know.
Speaker 3 (02:05):
Next that's next to the the King's Theater.
Speaker 1 (02:08):
Yes, exactly. It's crazy how there's like the King's Theaters there,
and just to see how things have changed so much,
you know, for Brooklyn. But let's get back first. Let's
talk about this benefit some more. So what is it?
I know, there's other things that people can do, right,
They're going to come in to Brooklyn Bowl.
Speaker 2 (02:24):
Yeah, they could fill a barrow, right. And also there's
a backgammon tournament, which is I have a problem with
that to say that. Why you gotta bring your own
board for backgammon? And why is no Domino? Why is
no LOI?
Speaker 3 (02:34):
What is this? Bring on board?
Speaker 5 (02:37):
Yeah, bring your own board.
Speaker 4 (02:38):
I feel the man over feel cheated.
Speaker 1 (02:44):
Well that's great. I don't know how to play backgammon,
so I can't.
Speaker 3 (02:46):
Even Yeah neither, I'm a domino.
Speaker 1 (02:49):
That is you said you don't know what what is that?
Speaker 5 (02:51):
I'm not even sure what's either? Okay, so we can
change that up Dominos.
Speaker 1 (02:58):
I'm having on six Loves all night.
Speaker 3 (02:59):
To bring the Ludiborg. Yeah.
Speaker 1 (03:02):
But you know, I've never seen Yellow Man perform live,
so I am also I've seen you guys perform Angela Day. Yeah,
it was an amazing surprise when I saw you. The
energy turned up. That was the first ever Angela Day.
Speaker 4 (03:14):
Yes, I was saying that this morning. That was Restoration Plaza.
Speaker 3 (03:17):
Yeah, yeah, that was fire.
Speaker 1 (03:20):
Yeah.
Speaker 6 (03:20):
And I'm to really be performing alongside Yellow Man because
that's how I got interested in actually starting to get
into music.
Speaker 1 (03:30):
That is such an interesting story to me, just your
history of how you even started doing music and how
yellow Man was an influence. Can you just run it
run it down for us a little.
Speaker 6 (03:39):
Well, it's an interesting story because you know, living in
Jamiica where I was, I was like the lightest complexion
in the neighborhood. So I had to deal with a
lot of nastyims like you know, red Boy, Red Malata,
you know, red don Ducar, some kind of obliinium. Right,
So when yellow Man gillmo This started to call me yellow,
(04:01):
and it's almost like I felt good because yellow Man
was raining. So I began to feel some sense of confidence,
like I have like some kind of you know, like
I don't look so bad, you know, like this yellow thing,
I can't get done with it.
Speaker 5 (04:13):
So I started to sing all these songs.
Speaker 6 (04:16):
And then one day, this is about like ten eleven
years old, I started to add my own words to
his song. And then I realized I had the ability
to write. And then I started to write and started
to write my own material. And that's all I got.
Speaker 1 (04:29):
Just think about that, and now, yeah, that's amazing to
see how you could turn like something that was painful
as a kid, because you know, kids could be really
mean yes, yes, yes, with the jokes, but it also
makes you build the tough skin very yeah.
Speaker 6 (04:43):
Yeah, yeah, because you know my freckles. They also thought
I resemble a banana. You know, I used to say specky,
specky banana. I used to have to be these things.
Speaker 5 (04:51):
That's offah.
Speaker 6 (04:57):
Yeah, but you know I grew up and up loving,
never think about myself for us, so it's a good thing.
Speaker 1 (05:04):
You guys had been cool with each other for decades.
Speaker 3 (05:06):
From day one.
Speaker 5 (05:07):
Yep, yeah, yeah, that's my brother.
Speaker 1 (05:10):
Do you remember when you're first linked up and hurt.
Speaker 3 (05:12):
Like that was? That was color color?
Speaker 6 (05:18):
Yeah, yeah, because I came here in the mediati is,
so he was already like dominated, dominated, So you know
when I went out, I saw him performing, and then
one day I saw him and we introduced ourselves to
each other because I had my first song out was
at the time, and it was giving me some compliment
about my song, and you know, we were vibing a
little bit time.
Speaker 3 (05:37):
That's how I started, and.
Speaker 1 (05:39):
That's how the crew came together.
Speaker 3 (05:40):
Yes, oh yeah, yes, people.
Speaker 1 (05:45):
Will act like it, so, you know, because I think
sometimes we don't look at how people really do come
together and help each other out. But y'all was locked
in from the beginning.
Speaker 4 (05:53):
From jump and I do believe first this is something
I said to people all the time, like we as
a crew, we had nothing, It was nothing planned. So
I always always said to myself, you know what, the universe,
some forces out there put us together, and each and
every individual have like equal talent, Like everybody in the
crew was wicked lyric shaggy. Yeah, mister easy, mister easy
(06:21):
Jed Nike us.
Speaker 1 (06:22):
Yes, that's amazing. I can't even imagine. Don't you wish
you had. I've seen like little bits of footage, but
you know how easy it is for people to access,
like with their phones. Imagine if some of those historical
moments that you have back then being able to capture
that it's not as as easy as it is today.
Speaker 3 (06:37):
But yes, yes, I know you.
Speaker 4 (06:39):
Have some time and unfortunately with you know, we got
some pictures captured and a lot of footage.
Speaker 3 (06:46):
Yeah yeah, yeah, yeah yeah.
Speaker 6 (06:48):
But some of these places like build more ballroom on church,
happing with starlight, they had forts, you know, cause we
started before.
Speaker 1 (06:59):
The yeah, you know, get away with a lot.
Speaker 6 (07:05):
You know, they would have a videom dot com sometimes
and capture the moment.
Speaker 5 (07:09):
But it was a bitter sweet thing because h a
Western Brooklyn.
Speaker 1 (07:15):
It took a while for you guys. Also, you did
a collaboration album like five years ago, right, and that
was Reset. Yeah, so Reset that was a long time
coming actually released.
Speaker 3 (07:26):
It actually released the same day COVID got released. Yeah,
so that.
Speaker 1 (07:33):
Was you can't ever cough when we talk about COVID.
Speaker 5 (07:35):
That was the second one.
Speaker 1 (07:40):
Yeah yeah, But what so what made you guys decide
that was the time to do it? Just because it's
something you could have done, you know, like a long
long time ago. Being the relationship that you have with
each other and the hit songs that you guys have
had together.
Speaker 3 (07:55):
I guess I guess.
Speaker 4 (07:56):
The time, and I guess it was that time. And
again nothing planned, like it's not was not long term plan.
Speaker 3 (08:04):
You know. It was.
Speaker 4 (08:07):
Red Fox and Potexts linked up and they was doing
some some some recordings and decided, you know what, won't
you just go out full length?
Speaker 3 (08:19):
Yeah?
Speaker 4 (08:20):
Me, I screeched, bug out some songs and put it,
put the album together, and that's how it came about.
Speaker 1 (08:26):
You know, the music business is so different now. I'm
also thinking about you both had record deals early on
back in those days.
Speaker 3 (08:34):
Yes, so Electra, Poly.
Speaker 1 (08:37):
Yes listen and both of those. I know, Electure doesn't
exist anymore, you know, it was an elected I think
old Dirty Bastard was when I yes, okay, and then
polygrammed Pogram. So I want to know about your deals
because I know sometimes especially you know, being young, and
everybody's dream was to sign to a label. And I
also think at certain times it was hard for some
(08:58):
labels to know how to even market and promote you know,
dance hall and reggae music. So I would love to
hear what your respective experiences was like for you on Elektra.
What was that.
Speaker 6 (09:10):
Well, first and foremost, I want to say a big show,
because I said, I always forget this name and I
don't want to forget it to the rock San Shante, right,
she saw me at a studio Manattan and I was
recording and she told I think his name was Fred
Bogs at Cold Chilling Records. So that was my first
introduction to the mea Jazz where I went up there,
(09:34):
you know, seeking a deal, and then it led me
on to got into Erskine Isaac, who became my manager.
He was working for Famous Artists Agency, and then he
took me to shop and you know, Columbia wanted me
and Electra wanted me. So eventually we went with Electra
because I already did a record with Brand Nubian. I
(09:55):
was on the in God We Trust album, right, and
then you know I knew Bust really well.
Speaker 5 (10:03):
Yeah yeah, yeah, yeah yeah.
Speaker 6 (10:04):
So you know, it was a classical album, you know,
as a matter fox at the time though, there was
a big merge between East West Records and Electra Records.
So I think Sylvia Room came in and all the
people that was working the project, you know, they you know,
a lot of them got fired and you know that
kind of like put a little the promotions there. So
(10:28):
but otherwise from that, you know, there's a lot of
classic songs on it, and I believe that I got
enough out of it that propelled me on my journey.
Speaker 1 (10:38):
Okay, And what was PolyGram like.
Speaker 3 (10:40):
Well, the PolyGram was an experience.
Speaker 4 (10:44):
It was actually Payday Record, Patrick MAXI Payday Record, and
I'm distributed by PolyGram, which is London Records, the PolyGram Umbrella.
Speaker 3 (10:59):
But how I got the.
Speaker 4 (11:00):
Deal now, we spoke to We spoke to Patrick Maxi
and Patrick Maxie. When we when we left Patrick Maxy's office,
we get a call. He said, all right, we're gonna
reach out to London Records and on our way to
Brooklyn we gotta BEATPEP check b.
Speaker 3 (11:19):
If I pull over beeper. Yeah, and then they said, yo,
you know what, how far you guys read?
Speaker 4 (11:26):
Can you guys come back? I think PolyGram we're good.
Speaker 3 (11:30):
So we went back. You know, it gave us a
big tick.
Speaker 4 (11:34):
Contract with little two hundred pages. So we said, you
know what, we're gonna take it on and come through it.
We come through it, we said it. It was back
and forth like twenty different times until the contract that
real skinny. I was like, wow, this is beautiful.
Speaker 3 (11:50):
Big up. I got to say salute my manager at
the time, Mervyn Jordan. Yeah, big head of knowledge.
Speaker 4 (11:58):
So between him and my lawyer, Bruce Coffin, big up,
Bruce Coffin.
Speaker 3 (12:02):
You know, I learned a lot from these two.
Speaker 4 (12:04):
So we sat down and we marked out, we xd
out paragraphs.
Speaker 3 (12:08):
What we don't want.
Speaker 4 (12:10):
They showed me this, or they they teach me that.
They know, they taught me the language. They're here and
within after yea, because you want to know what you're signing. Right,
So anyway, long, short, long story shot the advance. I said,
when I learned how it works, I said, you know what,
(12:30):
I don't want a big advance, I just want to
little give me a check some week because spend the
same my month for the album, just to.
Speaker 3 (12:37):
Take care of the album.
Speaker 1 (12:38):
Right, you don't want to be in debt to no, because.
Speaker 4 (12:40):
The longer you wait, the longer your your your oldies
companies are, the longer you're you wait for your read
the money after recoop.
Speaker 3 (12:50):
Yeah, I got to wait till they recoup all of that.
Speaker 1 (12:52):
So I say, yeah, although they will find a way
to not recoup no matter what.
Speaker 3 (12:56):
No, but guess what, but guess what. No, they gave
like seventy thousand dollars non recoup pepper w worked that out.
Say oh okay, non recoup Pebble.
Speaker 1 (13:06):
It's like a bonus. Yeah yeah, yeah, like a signing bonus.
Speaker 3 (13:10):
Yeah, you didn't have to pay nothing back. Okay, I
like that.
Speaker 1 (13:13):
So, yeah, I was early on in your business and
did it. I'm sure didn't help to have each other
to to kind of like discuss things.
Speaker 3 (13:19):
With Yeah with PolyGram.
Speaker 1 (13:21):
No, I mean like just having a whole crew oh
this old.
Speaker 4 (13:24):
Yeah yeah yeah yeah, m to pass on experience each
other and stuff like that, but nothing getting materialized. Where
with PolyGram we're putting out out.
Speaker 3 (13:34):
But I got myself.
Speaker 4 (13:37):
My manager got fed up and you know, he went
to pay day with some badanist thing and all of that.
Speaker 3 (13:45):
So so he said, you know what, I'm done with
this business. So he moved and went to the West
Coast leave. I was by myself.
Speaker 1 (13:54):
Oh no, so the so he was done with the business.
Speaker 4 (13:57):
Yeah, you couldn't take anymore because the you know, the
drama between us and the labor people.
Speaker 1 (14:03):
Don't understand how this business can break you down mentally
because it's not even just about talent, yeah you know,
it is so many other things that come into play.
Speaker 4 (14:12):
Yeah, but I find myself off the label, by myself,
I figure it out.
Speaker 1 (14:17):
Esh And so then what happened, I was free? Yeah, okay,
you know what I mean. Like as far as figuring
it out, You're like, what are the next steps that
you have to take after that? Because that's also a
tough position to be in.
Speaker 4 (14:28):
Well, I went back doing what we always do, like
because I always tell the president of a London record.
Speaker 3 (14:35):
I went to him and.
Speaker 4 (14:36):
I said, yo, Payday are supposed to get a check
from Payday at certain times, but like months past and
I'm not getting this check. And London is sending the
finance too to Payday and they're holding holding on to
it for some interest reason I don't know.
Speaker 3 (14:55):
So I went to the I went over.
Speaker 4 (14:57):
Their heads and Patrick MAXI was fist. Yeah, I was like, yo,
I was Peter Copkey. I was like, mister Copkey before
I signed, my fridge always like loaded with food since
I signed only one rotten tomato.
Speaker 3 (15:15):
In my friend and it was like laughing.
Speaker 4 (15:17):
I was saying, no, I exaggerated a little bit, but
it's kind of like that. Mm hmm yeah, just to
show you I'm not seeing any food come in my way, right, Yeah,
So we used to we used to tour on our own, yeah,
and get it and getting by What do you.
Speaker 1 (15:35):
See is a big difference between how touring and the
music business work back then and now, because obviously now
you have a lot more of an ability like thinking
about I know unfortunately it was COVID when the Reset
came out. Oh yeah yeah, but also just even being
able to access like your audience or let people know
what you have going on, or even put out songs
when you feel like it.
Speaker 4 (15:56):
Ah, the social media platform something probably there's something like
whatever events going on, you just go live and involved feo,
you know.
Speaker 3 (16:09):
You know it is like what's his name? Who did
that d night when D Nice Oh yeah revolutionized that.
Speaker 1 (16:17):
And that definitely is yeah, you know from Jamaican culture
to be able to do with d Nice, well not
you know, I was thinking about versus because that was
different nice and then awesome versus.
Speaker 3 (16:29):
Yeah, yeah, something like that.
Speaker 2 (16:31):
You know, speaking of versus, like a lot of people,
most of Jamaicans feel like it is sound class cultures.
Speaker 3 (16:37):
It's a tone for tune.
Speaker 2 (16:38):
Like for and I was thinking, like, do you think
Jamaican artists do enough gatekeeping when it comes to like
the soul culture because everybody uses it.
Speaker 3 (16:50):
Dancehol culture from them merge.
Speaker 2 (16:53):
To now versus to tune even the way DJ is MC. Yeah,
do dance or artists do enough control of.
Speaker 3 (17:04):
The culture or have enough the artists?
Speaker 4 (17:08):
Yeah, not too much, not compare to the amount of
artists out there.
Speaker 3 (17:15):
Not too too many artists.
Speaker 5 (17:17):
When you say have control, I'm just trying to understand.
Speaker 3 (17:20):
Yeah, because you have business people. You have because artists.
Speaker 2 (17:23):
Like the country, right, any country artists come and gotta
go through Nashville. All right, Okay, if anybody when you
use your making sounds, there's no one to report to this.
Speaker 6 (17:33):
Yeah, I mean, you know, there's not a lot of
control over the music because you know, there's still now presently,
the youths are much more eduquette thane.
Speaker 3 (17:42):
Before.
Speaker 6 (17:42):
You know, before people used to just produce a song.
You know, you have a little money, you got a
little beat together, you recorded, you put it out, but
there's no copyright, there's no this, there's no doubt.
Speaker 5 (17:52):
It's just you know.
Speaker 6 (17:53):
So now the youths are much more knowledgeable, so they're
doing the necessary paper work, you know, stuff like that.
I've been more control over there, you know material.
Speaker 1 (18:04):
Yeah, it's always been weird to me, how like everybody
will be on a rhythm and I'm like, who gets
paid the producer when so many people are using it?
So okay, yeah, because I'm it's always confusing.
Speaker 5 (18:18):
Well, it's the same.
Speaker 4 (18:19):
I mean, if you, if you, if you, if you're
down with a whatever society it is when ask you
have some in exchange whatever your registered song, I mean
you know, you could get paid that way, but not
these days. Yeah, you might have to say fifty billion.
Speaker 3 (18:36):
Yeah.
Speaker 6 (18:38):
Like if you hear like about ten artists on the
same beat, that's the produce actually recording the ten artists
on the same beat, saying it's just a thing in
the culture where you know, for the DJs to mix
and then may the best song win type of thing, right,
you know what I mean.
Speaker 5 (18:52):
But most of the time it's the producer that does.
Speaker 1 (18:54):
It has to be a DJ.
Speaker 4 (18:56):
I mean from that, I mean, when you have a
couple of songs, like just like Red Fox, if you
have a couple of songs that have some company to
see and reading where everything is hot and everything get played.
So I mean, you know, good for the artists because
the less known artists is on that track, right, he's
getting paid from his society whatever society's done with. Get
(19:19):
some exposure, get some exposure. Plus you kind of can
I check if your people works is intact?
Speaker 3 (19:25):
You know?
Speaker 1 (19:26):
Yeah, No, I mean, and I do feel like, especially
right now, I've seen a lot of artists are able
to come that previously couldn't come to the United States
and come out here and like take up and get
their money and go on tour. And I also feel like,
just like the eighties and nineties were great, it feels
like there's like a rebirth in a way right now.
I feel it too, right, I feel it like.
Speaker 6 (19:46):
Me too, me too, I feel it when I explain why,
But I'm feeling something. Yeah, I think after a while,
you know, people want substance again. You know, I'm not
saying that the younger general wasn't bringing substance, but after
a while it got a little bit you know, crazy,
and people are searching once again for something that they
(20:09):
could feel within their soul. And you know, we're opening
that the younger generation now it's paying attention by you know,
researching you know, where we took it from, so that
they could really put some of these elements in the music.
Because before we didn't have a phone, we didn't have
all these social media. We were just completely focused on
the music itself coming from our souls. You know, we
(20:32):
weren't trying to record ourselves before we go into booth.
We were just thinking about, you know, the vibration. So
you know, we're opening that the youth's moving forward, we'll
more get their energy and you know, soil into what
they're doing instead of just thinking about marketing the sound
before you actually make the song, right, you know, because
(20:53):
we got to.
Speaker 2 (20:55):
Speaking energy because I like thee all tunes give Thanks
drum song with them boomom shorts.
Speaker 1 (21:03):
It's a specific woman.
Speaker 3 (21:06):
We forget we have to applied him in and not
too many people knows that that coming from the drum
song original you know where I'm from, Yeah, original?
Speaker 2 (21:16):
All right, continue, is there one specific woman that songs
about or is it just women in general? Like was
there one woman who.
Speaker 1 (21:24):
Walked past one day? It was like, you know, how
did that so even happen?
Speaker 3 (21:26):
You know, let's let's fox elaborate and Fox elaborate.
Speaker 1 (21:33):
The inspiration.
Speaker 5 (21:34):
So it was a little an Eastern park and.
Speaker 6 (21:40):
Yeah, president and and and during these days we would
have big song systems that is set up and we
will just go on freestyle over the beat. And you know,
so there were these girls coming in their carnival outfits,
all right, So Screecher was just joking around while they're passing,
but he was under mic saying.
Speaker 5 (22:00):
Girls then so shopping and.
Speaker 6 (22:02):
Tell you So, you know, we kind of forgot about
it because it was like a freestyle.
Speaker 5 (22:07):
So in the night.
Speaker 6 (22:08):
I was listening to the recording this this guy called Paularassi.
Speaker 5 (22:14):
He recorded the whole the whole thing.
Speaker 6 (22:16):
So I was listening back and I heard, you know,
Screechy saying it, and I was like, this can work.
Speaker 5 (22:21):
So I started to come up with like the boors off.
Then a boom boom shot.
Speaker 6 (22:25):
So I saw him at this clash in Bilmore Ballroom
and I told him about it. I said, you remember
that little thing, and then I sang the piece that
I had to it. And then we just went to
the studio with Stinging International and recorded it.
Speaker 1 (22:37):
Man, I love it. Organic story like something like that happened.
It's just freestyling. It was a moment. Those women probably
don't even know they were the inspiration.
Speaker 3 (22:46):
The thing is the magic.
Speaker 4 (22:48):
It hits the charts so quickly, like before we even
started the song. The first the first performance was the Palladium.
It was a Chamar was on a tour, but we
end up on the the Pilady. I'm part of the
tour and I don't know the song. So I was like, girls,
you look so I don't even think. I just probably
(23:09):
said girls, I remember welcoming. After the crowd starts singing
the whole song.
Speaker 1 (23:15):
You were like, Wow, that's amazing to this day. You know,
there's a few songs in the culture that's like.
Speaker 2 (23:25):
That Forever party in Florida. I had to play like
three times.
Speaker 6 (23:30):
I wouldn't write anything because when we went to the
studio would be as a colored song, everything off the
top of her. I'm like, we didn't even like, you know,
just free. And I learned from them, you don't have
to really struggle. And the crazy Yeah, I hit this
hit and the crazy thing too.
Speaker 3 (23:49):
Fox.
Speaker 4 (23:49):
We we're usually when two artists collaborate, you go on
one track by yourself and the next artist have open
track for themselves.
Speaker 3 (24:02):
We were both on the same track.
Speaker 4 (24:04):
Two mics set up, never done, We've never done nothing
like that before stings, the national hook.
Speaker 3 (24:09):
Up, you know, string up the two mics in at
and studio.
Speaker 4 (24:14):
Yes, And that's that's why when when you hear Fox
do it pulls out here something about going like that's me.
Speaker 3 (24:23):
Vibing on the next microphone the way.
Speaker 2 (24:25):
Boom pooms is a duet technically a duet, Yeah, yeah, yeah.
Speaker 1 (24:35):
It has to be nice to be like just this amazing,
huge part of history, Like that's something that no matter what. Yeah,
you know, and I know that you guys have talked
about just you know, younger making fun songs together, but
then coming back together and saying we want this to
be something that also is impactful, uh in the newer
music as far as with a message.
Speaker 5 (24:55):
Right, And I always still screeching out.
Speaker 6 (24:58):
I really love the the film singing about this girl
and this shorts that's supposed to be uh you know
dukes are or whatever the Americans would call it, right,
we call it boom boom shots. And you know, but
he sang about the girl in such admirias shot, right,
it wasn't no lyrics nice?
Speaker 3 (25:18):
Yeah, yeah, ladies.
Speaker 1 (25:23):
To say you know, I was just like pony printer.
That's nice too.
Speaker 5 (25:26):
Yeah, I always run, that's cool.
Speaker 3 (25:36):
Yeah, big up for all the ladies.
Speaker 1 (25:39):
Ladies as possible and starts are never going anywhere. That's
something that I think.
Speaker 4 (25:43):
Forever forever, Stapred, It's like, yeah, this big up the
famies A definitely.
Speaker 3 (25:53):
Keep wearing them pomm shots, ladies, but not this winter
freezing wait wait wait for summer. No overdue were the
girls were?
Speaker 6 (26:00):
We're in their poompoom shots like in zero degrees in
front of Q Club.
Speaker 5 (26:05):
Nothing stop them.
Speaker 1 (26:06):
I don't know how that happen. Now, we got the
big tall ferry boots, so you could wear it with that.
That's a good winter time, you know, when we come outside.
Speaker 4 (26:13):
That's the new fashion, right, big furry boots.
Speaker 3 (26:17):
Now.
Speaker 1 (26:18):
Listen, Squeasy Dare, And you're also known as the first
to making yodeler as well. What may you even say?
Let me start yodling because I love watching those videos
of you go crazy on it.
Speaker 3 (26:32):
I like to do different things from since I was
a kid man.
Speaker 4 (26:35):
I used to I used to impersonate voices as a
little kid, and I mean I'm kind of rusty, but
somewhat I could still.
Speaker 3 (26:44):
Do it if I put my mind to it. So,
so the Yoda.
Speaker 4 (26:48):
Music in general, I always like to go left field.
My mind, you know, my spirit just lead me in
these directions. So I remember I used to send up to.
Speaker 3 (27:00):
What you call it.
Speaker 4 (27:00):
I used to subscribe to Columbia I published. I was
in like music published.
Speaker 1 (27:05):
When they send them CDs and they tell you it's
for a penny, but then you get a bill for
way more than Yeah.
Speaker 4 (27:11):
Yeah, So one of the cassette had had Hank Williams
on it doing.
Speaker 3 (27:16):
When Mama rip watch the Fiz spit by and I
was fascinated by that. I was like, yo, I like this, so.
Speaker 4 (27:25):
You know, I imitate that in my own way and
bring you know, bring it to the dying side. And
the first time I did it in front of a crowd,
people asked me, yo, this first not an interview, asked me, yo,
Brooklyn crowd is so it's so hard and mean, what
make you face them and do something like that because
I know they would love it, said how you know?
Speaker 3 (27:48):
And said, I don't know. Something spirit tell me they're
gonna love it. We did dream about it.
Speaker 1 (27:52):
I dream about it. That is tough, though them listen
growing up and doing stuff in Brooklyn and get it
in front of those Brooklyn crowds. It's not a game.
Speaker 3 (27:59):
It's not a game. Brooklyn is the Apollo.
Speaker 6 (28:05):
Down.
Speaker 5 (28:07):
You'll feel something in in a fiace if you don't. Yeah,
you know what I mean that they like?
Speaker 6 (28:13):
You know?
Speaker 4 (28:13):
Yeah, but you know we've been stamp making our mark
from since ten ages, so people, you know, people actually
know me all over Brooklyn. Yea walk all over Brooklyn
from Flatbush to East New York to Clinton Hill all over. Yeah,
I used to walk and way they used to run
(28:34):
for politics.
Speaker 1 (28:36):
We would love that. Yeah, for you to run for office,
be the Brooklyn Borough president or something.
Speaker 3 (28:41):
May I done.
Speaker 1 (28:44):
We have all kind of things going on. Listen, I'll
be on that campaign with you. Well you know what,
what would your policies be for New York?
Speaker 4 (28:55):
Well we have to discuss off, you know, because yeah,
because wait till this cancer coach I blew off a.
Speaker 1 (29:04):
Little bit, maybe I can't go ahead and I don't
know anymore, but make still cheap again A good luck
with that. But listen to you, guys. I'm so excited.
You know, today is the show and this is at
Brooklyn Bowl. People can still get tickets, right am I right? Okay,
(29:26):
so people can still get tickets. Nixill give us a
little information. Where can people get their tickets. It's a
fundraiser for hurricane relief, of course.
Speaker 2 (29:34):
Go to the link in my bio n Q N
I C K S E A L E h Q.
Also at large up large up dot oh Brooklyn brookbull
dot com.
Speaker 1 (29:42):
Sorry Brooklyn bo one of my favorite places to hang
out at you it's gonna be a good time. Oh yeah,
you know but also for just a really important cause too.
And I love that I've been seeing a lot of
people are coming together to raise money and do what
they can. I think that shows you, you know, just
that we we do do this, like people really do
care about each other people. I did see somebody send
the video like, don't send us your old ship, like
(30:05):
people were sending old clothes, and somebody actually said, don't
send the stuff with like stains on it. Nobody respectful,
but no, I appreciate you guys for doing your part
and for coming up here today and YouTube for hosting
with you and listen. I will never forget my first
(30:27):
angela did y'all turned it up a thousand notches and
so make sure you don't miss this today. Okay tonight, yes, yes, yes, yes, yes.
Speaker 5 (30:37):
Okay yeah.
Speaker 3 (30:46):
No on my calendar tonight, all going down.
Speaker 1 (30:52):
Then, we appreciate you. Thank you anytime. Just come through.
When you decide to run for office, we got your back.
Speaker 4 (30:57):
I got you know, I got some nice policies though
you know, I was just saying, I'm you know, I
can't come off the top right now, but I got
everything slated.
Speaker 1 (31:06):
Okay, you have it all written now and everything written down. Okay, yeah,
all right, I mean I think you're right. Making Ox
deal cheap again could really work.
Speaker 3 (31:14):
Yes, I'm definitely gonna put that boomom short Thursdays.
Speaker 5 (31:22):
Every Thursday.
Speaker 3 (31:23):
We gotta bring in on the team.
Speaker 1 (31:27):
Yeah, you're all getting canceled, all right. I appreciate this.
Speaker 3 (31:32):
Thank you, Thank you so
What's happens way up at Angela. Yeah, and look at
this next deal is here today, oh man, and we
got Red Fox and Screechy Dad here with user out
of the room is Jamaican. Okay, I just really put
that out there. But this is a beautiful cause that
we're actually coming together to talk about. And Nick, you're
going to be hosting this events to run it down.
Speaker 2 (00:24):
Yeah, So the December six teams going down since it's
by Lodge up. It is the Hurricane Melissa relief benefit
of course for the Great Island Jamaica. We got Screeches
on the Red Fox in the set, we got King
yellow Man in the set, and Johnny Osborne and a
lineup of great DJs, Tjay, Gravy, Yanna Heaven.
Speaker 3 (00:41):
It's gonna be nice.
Speaker 1 (00:42):
And it's in Brooklyn. Yeah, Brooklyn at Brooklyn Bowl. Brooklyn
means a lot to you guys though.
Speaker 3 (00:47):
Of course.
Speaker 1 (00:48):
Yeah, of course, I can't imagine what it was like
coming here in Brooklyn, coming to Brooklyn when you did.
Speaker 4 (00:54):
Yes, I game he actually in the seventies, you know,
came me in seventy seven.
Speaker 3 (00:59):
Yeah, I went to junior high high school nine.
Speaker 1 (01:02):
Where'd you go to high school. Okay, I went to.
I went to high school in Brooklyn too, So high
school poly Prep Prep. You heard of it, you know, Okay,
it's way out of very Ridge.
Speaker 5 (01:16):
Well I went to.
Speaker 1 (01:19):
Oh wow, that's a crazy situation. I remember going there
because I'm from flat Bush. Yeah, and then going all
the way out there. It felt like a different world
for me. Yeah. So, but I feel like that was
also we always talk about like some of the best
spots in Brooklyn coming up for dance hall and for reggae.
(01:40):
Like I think about the Arc and how that was, yeah.
Speaker 4 (01:46):
The first place, and then they move it to and yeah,
it's somewhere over there called the Elite Art Bigger Space.
Speaker 1 (01:56):
Oh yeah, because so I used to live like across
the street from there where the series was all right, right, yeah,
now so I wasn't you know.
Speaker 3 (02:05):
Next that's next to the the King's Theater.
Speaker 1 (02:08):
Yes, exactly. It's crazy how there's like the King's Theaters there,
and just to see how things have changed so much,
you know, for Brooklyn. But let's get back first. Let's
talk about this benefit some more. So what is it?
I know, there's other things that people can do, right,
They're going to come in to Brooklyn Bowl.
Speaker 2 (02:24):
Yeah, they could fill a barrow, right. And also there's
a backgammon tournament, which is I have a problem with
that to say that. Why you gotta bring your own
board for backgammon? And why is no Domino? Why is
no LOI?
Speaker 3 (02:34):
What is this? Bring on board?
Speaker 5 (02:37):
Yeah, bring your own board.
Speaker 4 (02:38):
I feel the man over feel cheated.
Speaker 1 (02:44):
Well that's great. I don't know how to play backgammon,
so I can't.
Speaker 3 (02:46):
Even Yeah neither, I'm a domino.
Speaker 1 (02:49):
That is you said you don't know what what is that?
Speaker 5 (02:51):
I'm not even sure what's either? Okay, so we can
change that up Dominos.
Speaker 1 (02:58):
I'm having on six Loves all night.
Speaker 3 (02:59):
To bring the Ludiborg. Yeah.
Speaker 1 (03:02):
But you know, I've never seen Yellow Man perform live,
so I am also I've seen you guys perform Angela Day. Yeah,
it was an amazing surprise when I saw you. The
energy turned up. That was the first ever Angela Day.
Speaker 4 (03:14):
Yes, I was saying that this morning. That was Restoration Plaza.
Speaker 3 (03:17):
Yeah, yeah, that was fire.
Speaker 1 (03:20):
Yeah.
Speaker 6 (03:20):
And I'm to really be performing alongside Yellow Man because
that's how I got interested in actually starting to get
into music.
Speaker 1 (03:30):
That is such an interesting story to me, just your
history of how you even started doing music and how
yellow Man was an influence. Can you just run it
run it down for us a little.
Speaker 6 (03:39):
Well, it's an interesting story because you know, living in
Jamiica where I was, I was like the lightest complexion
in the neighborhood. So I had to deal with a
lot of nastyims like you know, red Boy, Red Malata,
you know, red don Ducar, some kind of obliinium. Right,
So when yellow Man gillmo This started to call me yellow,
(04:01):
and it's almost like I felt good because yellow Man
was raining. So I began to feel some sense of confidence,
like I have like some kind of you know, like
I don't look so bad, you know, like this yellow thing,
I can't get done with it.
Speaker 5 (04:13):
So I started to sing all these songs.
Speaker 6 (04:16):
And then one day, this is about like ten eleven
years old, I started to add my own words to
his song. And then I realized I had the ability
to write. And then I started to write and started
to write my own material. And that's all I got.
Speaker 1 (04:29):
Just think about that, and now, yeah, that's amazing to
see how you could turn like something that was painful
as a kid, because you know, kids could be really
mean yes, yes, yes, with the jokes, but it also
makes you build the tough skin very yeah.
Speaker 6 (04:43):
Yeah, yeah, because you know my freckles. They also thought
I resemble a banana. You know, I used to say specky,
specky banana. I used to have to be these things.
Speaker 5 (04:51):
That's offah.
Speaker 6 (04:57):
Yeah, but you know I grew up and up loving,
never think about myself for us, so it's a good thing.
Speaker 1 (05:04):
You guys had been cool with each other for decades.
Speaker 3 (05:06):
From day one.
Speaker 5 (05:07):
Yep, yeah, yeah, that's my brother.
Speaker 1 (05:10):
Do you remember when you're first linked up and hurt.
Speaker 3 (05:12):
Like that was? That was color color?
Speaker 6 (05:18):
Yeah, yeah, because I came here in the mediati is,
so he was already like dominated, dominated, So you know
when I went out, I saw him performing, and then
one day I saw him and we introduced ourselves to
each other because I had my first song out was
at the time, and it was giving me some compliment
about my song, and you know, we were vibing a
little bit time.
Speaker 3 (05:37):
That's how I started, and.
Speaker 1 (05:39):
That's how the crew came together.
Speaker 3 (05:40):
Yes, oh yeah, yes, people.
Speaker 1 (05:45):
Will act like it, so, you know, because I think
sometimes we don't look at how people really do come
together and help each other out. But y'all was locked
in from the beginning.
Speaker 4 (05:53):
From jump and I do believe first this is something
I said to people all the time, like we as
a crew, we had nothing, It was nothing planned. So
I always always said to myself, you know what, the universe,
some forces out there put us together, and each and
every individual have like equal talent, Like everybody in the
crew was wicked lyric shaggy. Yeah, mister easy, mister easy
(06:21):
Jed Nike us.
Speaker 1 (06:22):
Yes, that's amazing. I can't even imagine. Don't you wish
you had. I've seen like little bits of footage, but
you know how easy it is for people to access,
like with their phones. Imagine if some of those historical
moments that you have back then being able to capture
that it's not as as easy as it is today.
Speaker 3 (06:37):
But yes, yes, I know you.
Speaker 4 (06:39):
Have some time and unfortunately with you know, we got
some pictures captured and a lot of footage.
Speaker 3 (06:46):
Yeah yeah, yeah, yeah yeah.
Speaker 6 (06:48):
But some of these places like build more ballroom on church,
happing with starlight, they had forts, you know, cause we
started before.
Speaker 1 (06:59):
The yeah, you know, get away with a lot.
Speaker 6 (07:05):
You know, they would have a videom dot com sometimes
and capture the moment.
Speaker 5 (07:09):
But it was a bitter sweet thing because h a
Western Brooklyn.
Speaker 1 (07:15):
It took a while for you guys. Also, you did
a collaboration album like five years ago, right, and that
was Reset. Yeah, so Reset that was a long time
coming actually released.
Speaker 3 (07:26):
It actually released the same day COVID got released. Yeah,
so that.
Speaker 1 (07:33):
Was you can't ever cough when we talk about COVID.
Speaker 5 (07:35):
That was the second one.
Speaker 1 (07:40):
Yeah yeah, But what so what made you guys decide
that was the time to do it? Just because it's
something you could have done, you know, like a long
long time ago. Being the relationship that you have with
each other and the hit songs that you guys have
had together.
Speaker 3 (07:55):
I guess I guess.
Speaker 4 (07:56):
The time, and I guess it was that time. And
again nothing planned, like it's not was not long term plan.
Speaker 3 (08:04):
You know. It was.
Speaker 4 (08:07):
Red Fox and Potexts linked up and they was doing
some some some recordings and decided, you know what, won't
you just go out full length?
Speaker 3 (08:19):
Yeah?
Speaker 4 (08:20):
Me, I screeched, bug out some songs and put it,
put the album together, and that's how it came about.
Speaker 1 (08:26):
You know, the music business is so different now. I'm
also thinking about you both had record deals early on
back in those days.
Speaker 3 (08:34):
Yes, so Electra, Poly.
Speaker 1 (08:37):
Yes listen and both of those. I know, Electure doesn't
exist anymore, you know, it was an elected I think
old Dirty Bastard was when I yes, okay, and then
polygrammed Pogram. So I want to know about your deals
because I know sometimes especially you know, being young, and
everybody's dream was to sign to a label. And I
also think at certain times it was hard for some
(08:58):
labels to know how to even market and promote you know,
dance hall and reggae music. So I would love to
hear what your respective experiences was like for you on Elektra.
What was that.
Speaker 6 (09:10):
Well, first and foremost, I want to say a big show,
because I said, I always forget this name and I
don't want to forget it to the rock San Shante, right,
she saw me at a studio Manattan and I was
recording and she told I think his name was Fred
Bogs at Cold Chilling Records. So that was my first
introduction to the mea Jazz where I went up there,
(09:34):
you know, seeking a deal, and then it led me
on to got into Erskine Isaac, who became my manager.
He was working for Famous Artists Agency, and then he
took me to shop and you know, Columbia wanted me
and Electra wanted me. So eventually we went with Electra
because I already did a record with Brand Nubian. I
(09:55):
was on the in God We Trust album, right, and
then you know I knew Bust really well.
Speaker 5 (10:03):
Yeah yeah, yeah, yeah yeah.
Speaker 6 (10:04):
So you know, it was a classical album, you know,
as a matter fox at the time though, there was
a big merge between East West Records and Electra Records.
So I think Sylvia Room came in and all the
people that was working the project, you know, they you know,
a lot of them got fired and you know that
kind of like put a little the promotions there. So
(10:28):
but otherwise from that, you know, there's a lot of
classic songs on it, and I believe that I got
enough out of it that propelled me on my journey.
Speaker 1 (10:38):
Okay, And what was PolyGram like.
Speaker 3 (10:40):
Well, the PolyGram was an experience.
Speaker 4 (10:44):
It was actually Payday Record, Patrick MAXI Payday Record, and
I'm distributed by PolyGram, which is London Records, the PolyGram Umbrella.
Speaker 3 (10:59):
But how I got the.
Speaker 4 (11:00):
Deal now, we spoke to We spoke to Patrick Maxi
and Patrick Maxie. When we when we left Patrick Maxy's office,
we get a call. He said, all right, we're gonna
reach out to London Records and on our way to
Brooklyn we gotta BEATPEP check b.
Speaker 3 (11:19):
If I pull over beeper. Yeah, and then they said, yo,
you know what, how far you guys read?
Speaker 4 (11:26):
Can you guys come back? I think PolyGram we're good.
Speaker 3 (11:30):
So we went back. You know, it gave us a
big tick.
Speaker 4 (11:34):
Contract with little two hundred pages. So we said, you
know what, we're gonna take it on and come through it.
We come through it, we said it. It was back
and forth like twenty different times until the contract that
real skinny. I was like, wow, this is beautiful.
Speaker 3 (11:50):
Big up. I got to say salute my manager at
the time, Mervyn Jordan. Yeah, big head of knowledge.
Speaker 4 (11:58):
So between him and my lawyer, Bruce Coffin, big up,
Bruce Coffin.
Speaker 3 (12:02):
You know, I learned a lot from these two.
Speaker 4 (12:04):
So we sat down and we marked out, we xd
out paragraphs.
Speaker 3 (12:08):
What we don't want.
Speaker 4 (12:10):
They showed me this, or they they teach me that.
They know, they taught me the language. They're here and
within after yea, because you want to know what you're signing. Right,
So anyway, long, short, long story shot the advance. I said,
when I learned how it works, I said, you know what,
(12:30):
I don't want a big advance, I just want to
little give me a check some week because spend the
same my month for the album, just to.
Speaker 3 (12:37):
Take care of the album.
Speaker 1 (12:38):
Right, you don't want to be in debt to no, because.
Speaker 4 (12:40):
The longer you wait, the longer your your your oldies
companies are, the longer you're you wait for your read
the money after recoop.
Speaker 3 (12:50):
Yeah, I got to wait till they recoup all of that.
Speaker 1 (12:52):
So I say, yeah, although they will find a way
to not recoup no matter what.
Speaker 3 (12:56):
No, but guess what, but guess what. No, they gave
like seventy thousand dollars non recoup pepper w worked that out.
Say oh okay, non recoup Pebble.
Speaker 1 (13:06):
It's like a bonus. Yeah yeah, yeah, like a signing bonus.
Speaker 3 (13:10):
Yeah, you didn't have to pay nothing back. Okay, I
like that.
Speaker 1 (13:13):
So, yeah, I was early on in your business and
did it. I'm sure didn't help to have each other
to to kind of like discuss things.
Speaker 3 (13:19):
With Yeah with PolyGram.
Speaker 1 (13:21):
No, I mean like just having a whole crew oh
this old.
Speaker 4 (13:24):
Yeah yeah yeah yeah, m to pass on experience each
other and stuff like that, but nothing getting materialized. Where
with PolyGram we're putting out out.
Speaker 3 (13:34):
But I got myself.
Speaker 4 (13:37):
My manager got fed up and you know, he went
to pay day with some badanist thing and all of that.
Speaker 3 (13:45):
So so he said, you know what, I'm done with
this business. So he moved and went to the West
Coast leave. I was by myself.
Speaker 1 (13:54):
Oh no, so the so he was done with the business.
Speaker 4 (13:57):
Yeah, you couldn't take anymore because the you know, the
drama between us and the labor people.
Speaker 1 (14:03):
Don't understand how this business can break you down mentally
because it's not even just about talent, yeah you know,
it is so many other things that come into play.
Speaker 4 (14:12):
Yeah, but I find myself off the label, by myself,
I figure it out.
Speaker 1 (14:17):
Esh And so then what happened, I was free? Yeah, okay,
you know what I mean. Like as far as figuring
it out, You're like, what are the next steps that
you have to take after that? Because that's also a
tough position to be in.
Speaker 4 (14:28):
Well, I went back doing what we always do, like
because I always tell the president of a London record.
Speaker 3 (14:35):
I went to him and.
Speaker 4 (14:36):
I said, yo, Payday are supposed to get a check
from Payday at certain times, but like months past and
I'm not getting this check. And London is sending the
finance too to Payday and they're holding holding on to
it for some interest reason I don't know.
Speaker 3 (14:55):
So I went to the I went over.
Speaker 4 (14:57):
Their heads and Patrick MAXI was fist. Yeah, I was like, yo,
I was Peter Copkey. I was like, mister Copkey before
I signed, my fridge always like loaded with food since
I signed only one rotten tomato.
Speaker 3 (15:15):
In my friend and it was like laughing.
Speaker 4 (15:17):
I was saying, no, I exaggerated a little bit, but
it's kind of like that. Mm hmm yeah, just to
show you I'm not seeing any food come in my way, right, Yeah,
So we used to we used to tour on our own, yeah,
and get it and getting by What do you.
Speaker 1 (15:35):
See is a big difference between how touring and the
music business work back then and now, because obviously now
you have a lot more of an ability like thinking
about I know unfortunately it was COVID when the Reset
came out. Oh yeah yeah, but also just even being
able to access like your audience or let people know
what you have going on, or even put out songs
when you feel like it.
Speaker 4 (15:56):
Ah, the social media platform something probably there's something like
whatever events going on, you just go live and involved feo,
you know.
Speaker 3 (16:09):
You know it is like what's his name? Who did
that d night when D Nice Oh yeah revolutionized that.
Speaker 1 (16:17):
And that definitely is yeah, you know from Jamaican culture
to be able to do with d Nice, well not
you know, I was thinking about versus because that was
different nice and then awesome versus.
Speaker 3 (16:29):
Yeah, yeah, something like that.
Speaker 2 (16:31):
You know, speaking of versus, like a lot of people,
most of Jamaicans feel like it is sound class cultures.
Speaker 3 (16:37):
It's a tone for tune.
Speaker 2 (16:38):
Like for and I was thinking, like, do you think
Jamaican artists do enough gatekeeping when it comes to like
the soul culture because everybody uses it.
Speaker 3 (16:50):
Dancehol culture from them merge.
Speaker 2 (16:53):
To now versus to tune even the way DJ is MC. Yeah,
do dance or artists do enough control of.
Speaker 3 (17:04):
The culture or have enough the artists?
Speaker 4 (17:08):
Yeah, not too much, not compare to the amount of
artists out there.
Speaker 3 (17:15):
Not too too many artists.
Speaker 5 (17:17):
When you say have control, I'm just trying to understand.
Speaker 3 (17:20):
Yeah, because you have business people. You have because artists.
Speaker 2 (17:23):
Like the country, right, any country artists come and gotta
go through Nashville. All right, Okay, if anybody when you
use your making sounds, there's no one to report to this.
Speaker 6 (17:33):
Yeah, I mean, you know, there's not a lot of
control over the music because you know, there's still now presently,
the youths are much more eduquette thane.
Speaker 3 (17:42):
Before.
Speaker 6 (17:42):
You know, before people used to just produce a song.
You know, you have a little money, you got a
little beat together, you recorded, you put it out, but
there's no copyright, there's no this, there's no doubt.
Speaker 5 (17:52):
It's just you know.
Speaker 6 (17:53):
So now the youths are much more knowledgeable, so they're
doing the necessary paper work, you know, stuff like that.
I've been more control over there, you know material.
Speaker 1 (18:04):
Yeah, it's always been weird to me, how like everybody
will be on a rhythm and I'm like, who gets
paid the producer when so many people are using it?
So okay, yeah, because I'm it's always confusing.
Speaker 5 (18:18):
Well, it's the same.
Speaker 4 (18:19):
I mean, if you, if you, if you, if you're
down with a whatever society it is when ask you
have some in exchange whatever your registered song, I mean
you know, you could get paid that way, but not
these days. Yeah, you might have to say fifty billion.
Speaker 3 (18:36):
Yeah.
Speaker 6 (18:38):
Like if you hear like about ten artists on the
same beat, that's the produce actually recording the ten artists
on the same beat, saying it's just a thing in
the culture where you know, for the DJs to mix
and then may the best song win type of thing, right,
you know what I mean.
Speaker 5 (18:52):
But most of the time it's the producer that does.
Speaker 1 (18:54):
It has to be a DJ.
Speaker 4 (18:56):
I mean from that, I mean, when you have a
couple of songs, like just like Red Fox, if you
have a couple of songs that have some company to
see and reading where everything is hot and everything get played.
So I mean, you know, good for the artists because
the less known artists is on that track, right, he's
getting paid from his society whatever society's done with. Get
(19:19):
some exposure, get some exposure. Plus you kind of can
I check if your people works is intact?
Speaker 3 (19:25):
You know?
Speaker 1 (19:26):
Yeah, No, I mean, and I do feel like, especially
right now, I've seen a lot of artists are able
to come that previously couldn't come to the United States
and come out here and like take up and get
their money and go on tour. And I also feel like,
just like the eighties and nineties were great, it feels
like there's like a rebirth in a way right now.
I feel it too, right, I feel it like.
Speaker 6 (19:46):
Me too, me too, I feel it when I explain why,
But I'm feeling something. Yeah, I think after a while,
you know, people want substance again. You know, I'm not
saying that the younger general wasn't bringing substance, but after
a while it got a little bit you know, crazy,
and people are searching once again for something that they
(20:09):
could feel within their soul. And you know, we're opening
that the younger generation now it's paying attention by you know,
researching you know, where we took it from, so that
they could really put some of these elements in the music.
Because before we didn't have a phone, we didn't have
all these social media. We were just completely focused on
the music itself coming from our souls. You know, we
(20:32):
weren't trying to record ourselves before we go into booth.
We were just thinking about, you know, the vibration. So
you know, we're opening that the youth's moving forward, we'll
more get their energy and you know, soil into what
they're doing instead of just thinking about marketing the sound
before you actually make the song, right, you know, because
(20:53):
we got to.
Speaker 2 (20:55):
Speaking energy because I like thee all tunes give Thanks
drum song with them boomom shorts.
Speaker 1 (21:03):
It's a specific woman.
Speaker 3 (21:06):
We forget we have to applied him in and not
too many people knows that that coming from the drum
song original you know where I'm from, Yeah, original?
Speaker 2 (21:16):
All right, continue, is there one specific woman that songs
about or is it just women in general? Like was
there one woman who.
Speaker 1 (21:24):
Walked past one day? It was like, you know, how
did that so even happen?
Speaker 3 (21:26):
You know, let's let's fox elaborate and Fox elaborate.
Speaker 1 (21:33):
The inspiration.
Speaker 5 (21:34):
So it was a little an Eastern park and.
Speaker 6 (21:40):
Yeah, president and and and during these days we would
have big song systems that is set up and we
will just go on freestyle over the beat. And you know,
so there were these girls coming in their carnival outfits,
all right, So Screecher was just joking around while they're passing,
but he was under mic saying.
Speaker 5 (22:00):
Girls then so shopping and.
Speaker 6 (22:02):
Tell you So, you know, we kind of forgot about
it because it was like a freestyle.
Speaker 5 (22:07):
So in the night.
Speaker 6 (22:08):
I was listening to the recording this this guy called Paularassi.
Speaker 5 (22:14):
He recorded the whole the whole thing.
Speaker 6 (22:16):
So I was listening back and I heard, you know,
Screechy saying it, and I was like, this can work.
Speaker 5 (22:21):
So I started to come up with like the boors off.
Then a boom boom shot.
Speaker 6 (22:25):
So I saw him at this clash in Bilmore Ballroom
and I told him about it. I said, you remember
that little thing, and then I sang the piece that
I had to it. And then we just went to
the studio with Stinging International and recorded it.
Speaker 1 (22:37):
Man, I love it. Organic story like something like that happened.
It's just freestyling. It was a moment. Those women probably
don't even know they were the inspiration.
Speaker 3 (22:46):
The thing is the magic.
Speaker 4 (22:48):
It hits the charts so quickly, like before we even
started the song. The first the first performance was the Palladium.
It was a Chamar was on a tour, but we
end up on the the Pilady. I'm part of the
tour and I don't know the song. So I was like, girls,
you look so I don't even think. I just probably
(23:09):
said girls, I remember welcoming. After the crowd starts singing
the whole song.
Speaker 1 (23:15):
You were like, Wow, that's amazing to this day. You know,
there's a few songs in the culture that's like.
Speaker 2 (23:25):
That Forever party in Florida. I had to play like
three times.
Speaker 6 (23:30):
I wouldn't write anything because when we went to the
studio would be as a colored song, everything off the
top of her. I'm like, we didn't even like, you know,
just free. And I learned from them, you don't have
to really struggle. And the crazy Yeah, I hit this
hit and the crazy thing too.
Speaker 3 (23:49):
Fox.
Speaker 4 (23:49):
We we're usually when two artists collaborate, you go on
one track by yourself and the next artist have open
track for themselves.
Speaker 3 (24:02):
We were both on the same track.
Speaker 4 (24:04):
Two mics set up, never done, We've never done nothing
like that before stings, the national hook.
Speaker 3 (24:09):
Up, you know, string up the two mics in at
and studio.
Speaker 4 (24:14):
Yes, And that's that's why when when you hear Fox
do it pulls out here something about going like that's me.
Speaker 3 (24:23):
Vibing on the next microphone the way.
Speaker 2 (24:25):
Boom pooms is a duet technically a duet, Yeah, yeah, yeah.
Speaker 1 (24:35):
It has to be nice to be like just this amazing,
huge part of history, Like that's something that no matter what. Yeah,
you know, and I know that you guys have talked
about just you know, younger making fun songs together, but
then coming back together and saying we want this to
be something that also is impactful, uh in the newer
music as far as with a message.
Speaker 5 (24:55):
Right, And I always still screeching out.
Speaker 6 (24:58):
I really love the the film singing about this girl
and this shorts that's supposed to be uh you know
dukes are or whatever the Americans would call it, right,
we call it boom boom shots. And you know, but
he sang about the girl in such admirias shot, right,
it wasn't no lyrics nice?
Speaker 3 (25:18):
Yeah, yeah, ladies.
Speaker 1 (25:23):
To say you know, I was just like pony printer.
That's nice too.
Speaker 5 (25:26):
Yeah, I always run, that's cool.
Speaker 3 (25:36):
Yeah, big up for all the ladies.
Speaker 1 (25:39):
Ladies as possible and starts are never going anywhere. That's
something that I think.
Speaker 4 (25:43):
Forever forever, Stapred, It's like, yeah, this big up the
famies A definitely.
Speaker 3 (25:53):
Keep wearing them pomm shots, ladies, but not this winter
freezing wait wait wait for summer. No overdue were the
girls were?
Speaker 6 (26:00):
We're in their poompoom shots like in zero degrees in
front of Q Club.
Speaker 5 (26:05):
Nothing stop them.
Speaker 1 (26:06):
I don't know how that happen. Now, we got the
big tall ferry boots, so you could wear it with that.
That's a good winter time, you know, when we come outside.
Speaker 4 (26:13):
That's the new fashion, right, big furry boots.
Speaker 3 (26:17):
Now.
Speaker 1 (26:18):
Listen, Squeasy Dare, And you're also known as the first
to making yodeler as well. What may you even say?
Let me start yodling because I love watching those videos
of you go crazy on it.
Speaker 3 (26:32):
I like to do different things from since I was
a kid man.
Speaker 4 (26:35):
I used to I used to impersonate voices as a
little kid, and I mean I'm kind of rusty, but
somewhat I could still.
Speaker 3 (26:44):
Do it if I put my mind to it. So,
so the Yoda.
Speaker 4 (26:48):
Music in general, I always like to go left field.
My mind, you know, my spirit just lead me in
these directions. So I remember I used to send up to.
Speaker 3 (27:00):
What you call it.
Speaker 4 (27:00):
I used to subscribe to Columbia I published. I was
in like music published.
Speaker 1 (27:05):
When they send them CDs and they tell you it's
for a penny, but then you get a bill for
way more than Yeah.
Speaker 4 (27:11):
Yeah, So one of the cassette had had Hank Williams
on it doing.
Speaker 3 (27:16):
When Mama rip watch the Fiz spit by and I
was fascinated by that. I was like, yo, I like this, so.
Speaker 4 (27:25):
You know, I imitate that in my own way and
bring you know, bring it to the dying side. And
the first time I did it in front of a crowd,
people asked me, yo, this first not an interview, asked me, yo,
Brooklyn crowd is so it's so hard and mean, what
make you face them and do something like that because
I know they would love it, said how you know?
Speaker 3 (27:48):
And said, I don't know. Something spirit tell me they're
gonna love it. We did dream about it.
Speaker 1 (27:52):
I dream about it. That is tough, though them listen
growing up and doing stuff in Brooklyn and get it
in front of those Brooklyn crowds. It's not a game.
Speaker 3 (27:59):
It's not a game. Brooklyn is the Apollo.
Speaker 6 (28:05):
Down.
Speaker 5 (28:07):
You'll feel something in in a fiace if you don't. Yeah,
you know what I mean that they like?
Speaker 6 (28:13):
You know?
Speaker 4 (28:13):
Yeah, but you know we've been stamp making our mark
from since ten ages, so people, you know, people actually
know me all over Brooklyn. Yea walk all over Brooklyn
from Flatbush to East New York to Clinton Hill all over. Yeah,
I used to walk and way they used to run
(28:34):
for politics.
Speaker 1 (28:36):
We would love that. Yeah, for you to run for office,
be the Brooklyn Borough president or something.
Speaker 3 (28:41):
May I done.
Speaker 1 (28:44):
We have all kind of things going on. Listen, I'll
be on that campaign with you. Well you know what,
what would your policies be for New York?
Speaker 4 (28:55):
Well we have to discuss off, you know, because yeah,
because wait till this cancer coach I blew off a.
Speaker 1 (29:04):
Little bit, maybe I can't go ahead and I don't
know anymore, but make still cheap again A good luck
with that. But listen to you, guys. I'm so excited.
You know, today is the show and this is at
Brooklyn Bowl. People can still get tickets, right am I right? Okay,
(29:26):
so people can still get tickets. Nixill give us a
little information. Where can people get their tickets. It's a
fundraiser for hurricane relief, of course.
Speaker 2 (29:34):
Go to the link in my bio n Q N
I C K S E A L E h Q.
Also at large up large up dot oh Brooklyn brookbull
dot com.
Speaker 1 (29:42):
Sorry Brooklyn bo one of my favorite places to hang
out at you it's gonna be a good time. Oh yeah,
you know but also for just a really important cause too.
And I love that I've been seeing a lot of
people are coming together to raise money and do what
they can. I think that shows you, you know, just
that we we do do this, like people really do
care about each other people. I did see somebody send
the video like, don't send us your old ship, like
(30:05):
people were sending old clothes, and somebody actually said, don't
send the stuff with like stains on it. Nobody respectful,
but no, I appreciate you guys for doing your part
and for coming up here today and YouTube for hosting
with you and listen. I will never forget my first
(30:27):
angela did y'all turned it up a thousand notches and
so make sure you don't miss this today. Okay tonight, yes, yes, yes, yes, yes.
Speaker 5 (30:37):
Okay yeah.
Speaker 3 (30:46):
No on my calendar tonight, all going down.
Speaker 1 (30:52):
Then, we appreciate you. Thank you anytime. Just come through.
When you decide to run for office, we got your back.
Speaker 4 (30:57):
I got you know, I got some nice policies though
you know, I was just saying, I'm you know, I
can't come off the top right now, but I got
everything slated.
Speaker 1 (31:06):
Okay, you have it all written now and everything written down. Okay, yeah,
all right, I mean I think you're right. Making Ox
deal cheap again could really work.
Speaker 3 (31:14):
Yes, I'm definitely gonna put that boomom short Thursdays.
Speaker 5 (31:22):
Every Thursday.
Speaker 3 (31:23):
We gotta bring in on the team.
Speaker 1 (31:27):
Yeah, you're all getting canceled, all right. I appreciate this.
Speaker 3 (31:32):
Thank you, Thank you so
Way Up With Angela Yee News
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Angela Yee
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